Playing in an orchestral style - Page 2

Vulgano Brother · 02-04-2008, 11:17 AM

The topic is indeed eternal. I find too that we need all styles of articulation, and instead of "on-off" thinking, I prefer the ADSR method. ADSR stands for Attack, Decay, Sustain, Release, and represented real knobs to be twisted on the early analog synthezisers. If we adopt the notion that articulation includes the entire note (and the space in-between), it allows us to match the rest of the orchestra. We should be able to match up-bows, down-bows, tympani with hard or soft mallets, and show grace to the poor brass players trying to get a 16-foot instrument to match the trumpets.

We have neither the right nor permission to change the notes or the rhythm, but we are allowed to shape the notes; a holistic approach to articulation allows us to make music.

camelbrass · 02-04-2008, 11:48 AM

Robin and VB,

Great posts. Always musical and always in context.

Regards,

Trevor

siarr · 02-07-2008, 03:39 PM

Quote:

Originally Posted by rowuk

This thread is 3 years old but the topic is eternal!
I disagree with the premise of bricks instead of sausage and that orchestral trumpeting means long and flowing. Many things have been legatoed to death in american orchestral playing and there is a definite trend (in Europe anyway) towards differentiation depending on the music. This "new" (old) articulation is actually sneaking its way into accepted practice through historic instrument performances. If you listen to a Beethoven symphony played by the Academy of Ancient Music for instance, you will hear what I am talking about. Why someone wants to make a cloud out of a note marked staccato with a sffz underneath is a mystery to me - unless piston trumpets sound ugly when playing what the COMPOSER specified...............
There is plenty of opportunity in the orchestral literature for a tut, but also plenty for a tooh. If we are serious about the trumpet, we need it all. We can learn from the greats like Bud Herseth and Phil Smith, but should pay attention to Michael Laird, Crispian Steele-Perkins, Mathias Höfs and Niklas Eklund too. There are significant differences!

A real treat for articulation freaks are the Sergei Nakariakov recordings. That guy has his tuts and toohs in context!

Nope, for me orchestral style is flowing water to machine gun and honey to flame thrower. I NEED IT ALL!!!!!!!!!!!!!!

Robin, I couldn't agree more. There have been times when I've been in a section with someone who absolutely cannot (or won't) put some tongue into an accented or sfz passage, which is totally out of character with the passage/piece. Just as you wouldn't wear a tux to a football game, why would you want to use a lyrical soft tongue on a passage that calls for a marcato or accented staccato articulation? Think about the 3-note passage in the Infernal Danse of Firebird (4th bar after 25). Can you imagine playing these three notes with a legato "sausage" tongue? The question is always: what is the appropriate articulation for a given part? One size definitely does not fit all.

Cheers,
Chas

02-04-2008, 11:17 AM	#11 (permalink)
Vulgano Brother Moderator Fortissimo User Join Date: Mar 2006 Location: Home Posts: 3,230	Re: Playing in an orchestral style The topic is indeed eternal. I find too that we need all styles of articulation, and instead of "on-off" thinking, I prefer the ADSR method. ADSR stands for Attack, Decay, Sustain, Release, and represented real knobs to be twisted on the early analog synthezisers. If we adopt the notion that articulation includes the entire note (and the space in-between), it allows us to match the rest of the orchestra. We should be able to match up-bows, down-bows, tympani with hard or soft mallets, and show grace to the poor brass players trying to get a 16-foot instrument to match the trumpets. We have neither the right nor permission to change the notes or the rhythm, but we are allowed to shape the notes; a holistic approach to articulation allows us to make music. __________________ "A tool good enough to be so used and not too good" C.S. Lewis That Hideous Strength www.letsbuildhope.org

02-04-2008, 11:48 AM	#12 (permalink)
camelbrass Mezzo Forte User Join Date: Nov 2003 Location: Dubai, UAE Posts: 795	Re: Playing in an orchestral style Robin and VB, Great posts. Always musical and always in context. Regards, Trevor

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